Boto began her career in Buenos Aires among the avant-garde artists who sought to create a universal visual language of balance and harmony through Concrete art, a style of pure geometric abstraction with no reference to external reality.
In 1959 she immigrated to Paris, where she transferred these interests to kinetic art, in which she explored the potential of moving elements to transform geometric compositions. Labyrinth is part of Boto’s body of light-and-motion boxes made of industrial components—Plexiglas, aluminum, stainless steel, or motors. Produced in the mid-1960s, these boxes were included in the influential 1967 exhibition of kinetic art Lumière et mouvement (Light and Motion) at the Musée d’Art Moderne in Paris.

Bibliography

"Acquisitions of the Art Museum 1974", Record of the Art Museum, Princeton University 33, no. 1 (1974): p. 37-47.